I.—The Wall-Paintings at Longthorpe Tower near Peterborough, Northants

E. Clive Rouse; Audrey Baker

doi:10.1017/S0261340900003660

I.—The Wall-Paintings at Longthorpe Tower near Peterborough, Northants

Published online by Cambridge University Press: 19 July 2011

E. Clive Rouse and

Audrey Baker

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The paintings which were fully uncovered during 1946 in the Great Chamber of the house known as Longthorpe Tower near Peterborough, are the most important domestic mural paintings of the medieval period in England. Here is preserved a unique example of the appearance of the private apartment of a man of means and taste in the early fourteenth century, and some indication also of the learning and moral ideas of his period. By means of painstaking research scholars have recovered much information about the paintings in Westminster and the other royal palaces. (See in particular T. Borenius, ‘The Cycle of Images in the Palaces and Castles of Henry III’, in Journ. of the Warburg and Courtauld Insts. vi (1943), 40–50.) There are also a few mentions of paintings of a secular character in other buildings, but almost nothing now survives. The uncovering of the magnificent series of paintings at Longthorpe Tower, which is not a particularly large or important dwelling, suggests that mural painting of a hitherto unimagined richness and elaboration must have been usual in the castles and great houses of the English nobility during the medieval period.

Type: Research Article
Information: Archaeologia , Volume 96 , 1955 , pp. 1 - 57

DOI: https://doi.org/10.1017/S0261340900003660 [Opens in a new window]
Copyright: Copyright © The Society of Antiquaries of London 1955

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References

^{page 2 note 1} Vol. i, p. 62.

^{page 2 note 2} p. 10.

^{page 2 note 3} Northants, ii, 459, 460, and 486.

^{page 5 note 1} Gotch, op. cit. p. 10.

^{page 5 note 2} B.M. Cotton MS. Cleop. C. 1, f. 62.

^{page 7 note 1} The monuments are figured in the John Bridges collection, f. 210.

^{page 7 note 2} Mr. Mellows was tempted to see in the unfinished state of the paintings of the lower zone of the west wall an interruption of the work of decoration on the impeachment of the Chief Justice, below p. 9.

^{page 14 note 1} Below, pp. 28, 29.

^{page 15 note 1} B.M. Royal MS. 2 B. VII, fo. 85; pl. ix.

^{page 15 note 2} SirWarner, G., Queen Mary's Psalter, 1912, pp. 6–7Google Scholar.

^{page 15 note 3} Cambridge, Corpus Christi College, MS. 53.

^{page 15 note 4} Sarum Horae, Cambridge, University Library, MS. Dd. 4. 17.

^{page 15 note 5} Dyson Perrins Library, Warner, Catalogue of the MSS. in the Library of C. W. Dyson Perrins; Millar, English Illumination, ii, 76.

^{page 15 note 6} Other manuscripts closely related in style are Oxford, Bodleian, MS. Douce 79; Somme le Roy, Cambridge, St. John's College, MS. 256; Historical Compilation, B.M. Cotton MS. Claudius D. 11; Apocalypse, B.M. Royal MS. 19 B. XV.

^{page 16 note 1} Millar, English Illuminated Manuscripts, ii, 11.

^{page 16 note 2} Ibid., p. 13.

^{page 16 note 3} Ibid., pl. 37 b.

^{page 16 note 4} B.M. Royal MS. 2 B. VII, fos. 69^v, 70, 304, and 305.

^{page 16 note 5} Cambridge, Corpus Christi College MS. 53.

^{page 16 note 6} B.M. Royal MS. 2 B. VII, fo. 69^v.

^{page 16 note 7} Cambridge, Corpus Christi College MS. 53, fo. 17.

^{page 16 note 8} Ibid., fo. 7.

^{page 16 note 9} Cambridge, Corpus Christi College MS. 53, fo. 8^V.

^{page 17 note 1} Ibid., fo. 14^v.

^{page 17 note 2} Ibid., fo. I5^v.

^{page 17 note 3} B.M. Royal MS. 2 B. VII, fo. 305.

^{page 17 note 4} Ibid. fos. 69^v and 70.

^{page 17 note 5} B.M. Arundel MS. 83, fo. 132.

^{page 17 note 6} Cambridge, Corpus Christi College MS. 53, fo. 18^v, pl. xi, a.

^{page 17 note 7} B.M. Royal MS. 2 B. VII, fos. 69^v, 70, and 3O4^v and 305, pl. xi, b.

^{page 18 note 1} Lecture at the Courtauld Institute of Art.

^{page 18 note 2} E. W. Tristram, English Medieval Wall Painting 13 th Century, p. 123, pl. xii.

^{page 18 note 3} Borenius and Tristram, English Medieval Wall Painting, p. 18, pl. 42.

^{page 18 note 4} B.M. Royal MS. 2 B. VII, fo. 84^v.

^{page 18 note 5} Cambridge, University Library, MS. Dd. 4. 17, fo. 6.

^{page 18 note 6} Figure of Christ from the Holy Sepulchre Chapel at Winchester; a head of a king in the cloisters at Windsor. W. Tristram, English Medieval Wall Painting, 13th Century, pls. 34 and 27.

^{page 18 note 7} Ibid. Suppl. pls. 6–10, pp. 123 seq.

^{page 18 note 8} B.M. Add. MS. 17341.

^{page 18 note 9} B.M. Arundel MS. 83.

^{page 18 note 10} Brussels Bib. Roy. MSS. 9961–2, Facsimile ed. Van den Gheyn.

^{page 18 note 11} Pierpont Morgan Library, MS. 302, Millar, op. cit. pl. 21.

^{page 18 note 12} Corpus Christi College MS. 53, fo. 9^v, Millar, op. cit. pl. 25.

^{page 19 note 1} Cambridge, St. John's College MS. 256, fo. 143 ; Millar, English Illuminated Manuscripts, ii, pl. 40 b.

^{page 19 note 2} Millar, op. cit. p. 16; M. R. James, Catalogue of MSS. at St. John's College, Cambridge, no. 256.

^{page 19 note 3} Walter de Milemete, De Nobilitatibus, Sapientiis et Prudentiis Regum, Oxford, Christ Church Library, Facsimile Roxburghe Club 1913, fo. 4b.

^{page 19 note 4} Millar, op. cit. pp. 21–22.

^{page 19 note 5} Millar, op. cit. p. 11.

^{page 19 note 6} Oxford, Bodleian, MS. Douce 366.

^{page 20 note 1} Oxford, Bodleian, MS. Douce 366, fo. 9^v.

^{page 20 note 2} B.M. Add. MS. 42130, fo. 149.

^{page 20 note 3} Millar, English Illuminated MSS. ii, 1–2.

^{page 20 note 4} Oxford MS. Douce 366, fo. 89, fo. 131, fo. 147^v etc.

^{page 20 note 5} Oxford, Bodlcian, MS. Ashmole 1523.

^{page 20 note 6} Dyson Perrins MS. 13.

^{page 20 note 7} B.M. Add. MS. 42130.

^{page 21 note 1} Bib. Roy. MSS. 9961–2.

^{page 21 note 2} Very similar portrayals of the owl and magpie are found in the branches of the Tree of Vices in the psalter of Robert de Lisle. Arundel 83, fo. 128.

^{page 21 note 3} Not fifteenth century as the late Mr. Aymer Vallance suggests (Greater English Church Screens, p. 62).

^{page 22 note 1} B.M. Royal MS. 2 B. VII, fos. 85^v–130^v. Especially fos. 123–4^v, 128^v.

^{page 22 note 2} Wood, C. A. and Fyfe, M., The Art of Falconry, Stanford University Press, 1943Google Scholar. Compare B.M. MS. Fr. 12400, fo. 6. Wood & Fyfe, pl. 38, c. 1300.

^{page 22 note 3} But see also Tristram, English Wall Painting, 14th Century, p. 108.

^{page 22 note 4} M. R. James, Bestiary, Roxburghe Club, 1928. Introduction, p. 38, pl. 10a.

^{page 22 note 5} Millar, English Illuminated MSS. ii, 1–2.

^{page 22 note 6} See below, p. 7.

^{page 23 note 1} Millar, op. cit. p. 2. The Ormesby Psalter provides the best example of this profuse employment of heraldry, careful study of the arms has been made. See Two East Anglian Psalters, ed. by Sidney Cockerell and R. Thomas for the Roxburghe Club, 1926, pp. 28–33.

^{page 23 note 2} For a discussion of the earlier forms of English crown see Holmes, M. R., ‘The Crowns of England’ in Arch. lxxxvi (1937), 75–90Google Scholar.

^{page 23 note 3} In B.M. MS. Arundel 83 (first part) the prophets on fo. 2 wear super-tunics slit up in the same way, the contrasting colour of the tunic is seen through the slit.

^{page 24 note 1} Oxford, Bodleian. MS. Douce 366, fo. 131, above, p. 19.

^{page 24 note 2} Kelly, and Schwabe, , A short History of Costume and Armour (1931), i. 17Google Scholar.

^{page 24 note 3} Ibid. p. 19.

^{page 25 note 1} See R.A.I. Journal, xcii (1936), 86–92Google Scholar.

^{page 25 note 2} Above, p. 19; pl. xix, a.

^{page 25 note 3} It is possible that the window arches to the east and west were originally decorated in a similar way.

^{page 26 note 1} It is interesting to find that these two coats of arms on large shields are found side by side on several pages of the De Nobilitatibus Sapientiis et Prudentiis Regis, Roxburghe Club 1918, pp. 38, 48, 50, and 96.

^{page 26 note 2} W. T. Mellows, ‘Knights of Peterborough Barony’ and W. H. Lord, ‘Notes on the Escutcheons of the Knights’, Annual Report of Peterborough N.H.S. 1925.

^{page 26 note 3} I am indebted to the late Mr. Greening Lamborn for this information.

^{page 27 note 1} The arms seem to have varied somewhat.

^{page 27 note 2} British Museum Catalogue of Seals, iii, 587.

^{page 28 note 1} Torpel and Upton. On the death of Roger Torpel these manors passed to John de Camoys who surrendered them to Edward I. This king granted them to Queen Eleanor as dower and she was holding them under the abbey in 1284. In 1290 they were placed in the abbey's keeping. Below, p. 37.

^{page 28 note 2} The Knights of the Barony were the descendants and successors of the knights enfeoffed by Thorold on the Abbey Estates at the command of William I. W. T. Mellows, ‘The Knights of the Peterborough Barony’, Annual Report of the Peterborough N.H.S. 1925.

^{page 28 note 3} W. T. Mellows, op. cit. and W. H. H. Lord, ‘Notes on the Escutcheons of the Knights’.

^{page 28 note 4} T. Borenius and E. W. Tristram, English Medieval Wall Painting, p. 18.

^{page 28 note 5} Ibid. p. 22.

^{page 28 note 6} Rouse, E. Clive in R.A.I. Journal, xcii (1936), 86–92Google Scholar.

^{page 32 note 1} See Burl. Mag. lxii, March 1933, p. 124.

^{page 33 note 1} Kingsford, H. S., ‘The Epigraphy of Medieval English Seals’, Archaeologia, lxxix (1929), 149–78CrossRef Google Scholar.

^{page 35 note 1} Above p. 26 and p. 28 note 1, pls. xviii and xv, c and d.

^{page 35 note 2} D.N.B., Edmund of Kent.

^{page 35 note 3} Adam of Murimuth, Continuatio Chronicarum, ed. E. M. Thompson, Rolls Series, xciii, 58.

^{page 35 note 4} Annales Paulini, ed. Stubbs, Rolls Series, lxxvi, 344.

^{page 35 note 5} Chronicon de Lanercost, Bannatyne Club, p. 265; Joshua Barnes, ‘A History of that most victorious monarch, Edward III’, MDCLXXXVIII, gives a very full account of these events, pp. 38–42.

^{page 35 note 6} Adam of Murimuth, Continuatio Chronicarum, ed. Thompson, Rolls Series, xciii, 253–7 and 60.

^{page 35 note 7} Robert of Avesbury, De Gestis Mirabilibus Regis Edwardi Tertii, Rolls Series, xciii, 285.

^{page 35 note 8} Froissart, Chronicles, i, cap. xxiii.

^{page 36 note 1} Henry of Knighton, Chronicon, Rolls Series, xcii, 452.

^{page 36 note 2} Froissart, Chronicles, i, cap. xxiii.

^{page 36 note 3} Chronicon, Rolls Series, xcii, 452.

^{page 36 note 4} Tout, Political History of England 1216–1399, p. 207.

^{page 36 note 5} Chronicon, Rolls Series, xcii, 452.

^{page 36 note 6} Chronica Monasteriide Melsa, ii, 359, Rolls Series, xliii.

^{page 36 note 7} Chronicles, i. cap. iii.

^{page 36 note 8} Continuatio Chronicarum, Rolls Series, xciii, 60. ‘Dictus tamen comes eo minus a populo conquerabatur quod malam habuit familiam, res popularium eundo per patriam auctoritate propria occupantes et parum vel nihil solventes eisdem.’

^{page 36 note 9} Chronicle of Walter Whytleseye, ed. Joseph Sparke, Scriptores Varii Historiae Anglicanae, pt. iii, p. 225.

^{page 36 note 10} Victoria County History, Northants. ii, 483.

^{page 36 note 11} In 1321 the abbey sent a subsidy to help the king put down the insurrection of Earl Thomas: Sparke, op. cit. p. 218. Pytchley says that Earl Thomas ‘behaved wickedly and disobediently’ to the king. Henry Pytchley's Book of Fees, ed. Mellowes, Northants Record Soc. ii. 40. In enumerating the virtues of the abbot Adam, the continuator of Whytleseye's Chronicle, mentions the affection in which he was held by Edward II, Isabella, and Edward III. Sparke, op. cit. p. 232.

^{page 36 note 12} Robert was created steward of the Liberties of Peterborough in 1330, above p. 7.

^{page 37 note 1} Tristram, E. W., ‘The Paintings at South Newington’, Burlington Magazine, lxii, March 1932Google Scholar.

^{page 37 note 2} I am indebted to Professor Powicke for this suggestion.

^{page 37 note 3} Thomas held one-third of the manor of Depyng of the abbot, Calendar of Inquisitions Post Mortem, Edward III, p. 483.

^{page 37 note 4} W. T. Mellows, ‘The King's Lodging at Peterborough’, Annual Report of the Peterborough Nat. Hist. and Arch. Soc. 1932–3, p. 32.

^{page 37 note 5} ‘The Paintings at South Newington’, Burlington Magazine lxii, March 1932.

^{page 37 note 6} Oxford, Christ Church Library. Facsimile, (Ed. M. R. James), Roxburghe Club 1913, fo. 4b pl. xix, a.

^{page 37 note 7} Ibid. fo. 33, fo. 45, fo. 50, above, pp. 19, 25.

^{page 38 note 1} Ibid. fo. 4b; pl. xix, a.

^{page 38 note 2} MS. Douce, 131, fo. 68.

^{page 38 note 3} Haseloff, Die Psalter illustration im 13. Jahrhundert, 1938, p. 9.

^{page 38 note 4} B.M. Royal MS. 2 B. VIII, fo. 85.

^{page 39 note 1} Peterborough Psalter, Brussels, Bib. Roy. 9961–2, fo. 93; Queen Mary's Psalter, B.M. Royal MS. 2 B. VII. fo. 297, etc.

^{page 39 note 2} Mâle, L'Art religieux de la fin du moyen âge en France, p. 247.

^{page 39 note 3} G. Haseloff, Die Psalterillustration im 13. Jahrhundert, p. 101, pl. 2. Initials of Psalms 101 and 109.

^{page 39 note 4} Male, L'Art religieux de la fin du moyen age en France, p. 247; Book of Hours of Joan of Navarre, Bréviaire de Belleville, ‘Les Grandes Heures’ and ‘Les Petites Heures’ du Due de Berry. The Bréviaire de Belleville was in England during the early part of the fourteenth century. B.M. Catalogue of the Royal MSS.

^{page 39 note 5} Pl. ix.

^{page 39 note 6} Reproduced by E. Saunders, English Illumination, ii, pl. 73.

^{page 39 note 7} B.M. Add. MS. 28162, fo. 6.

^{page 40 note 1} B.M. Arundel, MS. 83, fo. 129.

^{page 40 note 2} I am indebted to Miss Chesney of Westfield College for these suggested interpretations of the Old French inscriptions.

^{page 40 note 3} Mâle, L'Art religieux du XIII^me siècle en France, p. 111.

^{page 40 note 4} Paris, B.N. MS. fr. 1136, fo. 33, reproduced by Langlois, Vie en France au moyen âge, iv, pl. v, p. 50. See also Bibl. de l'Arsenal MS. 3142. Langlois, op. cit. ii, pl. xiii.

^{page 40 note 5} Borenius, T., ‘The Painted Ceiling in the Nave of Peterborough Cathedral’, Archaeologia, lxxxvii. 302Google Scholar, pl. xciii. 6.

^{page 40 note 6} MS. 256. M. R. James, Catalogue of MSS. in St. John's College Library, considered that this manuscript was produced at Peterborough, but this is questioned.

^{page 41 note 1} Millar, English Illuminated Manuscripts, ii, pl. 406b.

^{page 41 note 2} Nelson Francis, The Book of Virtues and Vices, E.E.T.S., O.S. 217, 1942, p. 97.

^{page 41 note 3} This would accord well with the representation of the Creed above. The subjects are closely connected in Somme le Roi, Sermons of John Waldeby, etc. The parish priest had the duty of teaching the Pater Noster and the Creed to his parishioners. Nelson Francis, op. cit. Introduction, pp. 1–2.

^{page 41 note 4} Meis, ‘The Problem of Francesco Traini’, Art. Bul. xv (1911), 123–6; Freyhan, ‘English Influences on Parisian Painting about 1300’, Burl. Mag. liv, June 1929, pp. 320–30.

^{page 41 note 5} Willy Stork, ‘Bemerkungen zur französisch-englischen Miniaturmalerei um die Wende des XIII. Jahrhunderts’, Monatschrift für Kunstwissenschaft, iv.

^{page 41 note 6} ‘English Influences on Parisian Painting about 1300’, Burl. Mag. (1929), p. 320.

^{page 42 note 1} Mâle, L'Art religieux du XIII^me siècle en France, p. 17.

^{page 43 note 1} F. Saxl, ‘A Spiritual Encyclopaedia of the Later Middle Ages’, Journal of the Warburg and Courtauld Institutes, v, 107 seq.

^{page 43 note 2} Saxl, op. cit., pp. 117–18; Mâle, op. cit., p. 37.

^{page 43 note 3} Webster, ‘Labours of the Month’, Art Bulletin, xxii.

^{page 43 note 4} Mâle, L'Art religieux du XIII^me siècle en France, pp. 85 seq.

^{page 43 note 5} e.g. for instance ‘Sculpture at Malmesbury’, ‘Paintings at Hardham’, ‘Bernay’, etc.

^{page 43 note 6} Brussels, Bib. Roy. MSS. 9961–2.

^{page 44 note 1} Boll, Die Lebensalter, Leipzig & Berlin, 1913; Weinhold, Glucksrad und Lebensrad.

^{page 44 note 2} Detached leaves of a psalter in the FitzWilliam Museum, Cambridge. Illuminated by Walter de Brailes. B.M. Arundel MS. 83, ii, fo. 95.

^{page 44 note 3} As You Like It, Act II, scene vii.

^{page 44 note 4} Brandl, Quellen des weltlichen Dramas in England, p. xiii (Strassburg, 1898).

^{page 44 note 5} If this figure represents a soldier (he seems to have scabbard at his waist), this might suggest a connexion with the planets; for the years between forty-two and fifty-six, which follow the years of man's perfection, were held to be presided over by Mars. Boll, , Die Lebensalter, Leipzig & Berlin, 1913Google Scholar.

^{page 44 note 6} Dodsley, Old English Plays, ed. Carew Hazlitt, i, 243 seq. The figure called Puer at Longthorpe corresponds to that in the mystery play. Here the boy whom Mundus names Wanton says

‘I can many a quaint game

Lo my top I drive in same

See it turneth round.’

^{page 45 note 1} B.M. Royal MS. i F. vi, fos. 23, 23b. De Cantempré, born 1201, Canon of Augustinian house of Cantempré, near Cambrai. In 1232 he left this house and joined the Dominicans and studied science under Albert the Great. He states that he drew on the writings of Aristotle, Pliny, St. Basil, and St. Ambrose for De Natura Rerum. Auger, Étude sur les mystiques des Pays-Bas, Académie Royale des Sciences, des Lettres et des Beaux Arts de Belgique, Biographie Nationale, 1892.

^{page 45 note 2} Every animal that gulps down its food, like the lion and the wolf, is lean of body because, when food is not chewed it does not pass easily into the belly. All the more ponderous beasts feed on fruits and herbs, the nimbler ones such as lions and wolves, on flesh. Before the Flood, men (although light and nimble) used to feed on fruits and herbs; well then, according to the philosopher, thou o man feedest on the fruits of men's labours; the lion, a plunderer, feeds on flesh, and who is this plunderer, if not the nobleman who lives on the labours of the poor? In his five senses man is excelled by many creatures; eagles and lynxes have clearer vision, monkeys keener taste, vultures a more acute sense of smell, spiders a swifter touch, moles or the wild boar more sensitive hearing. Hence the lines ‘The boar excels us in hearing, the lynx in sight, The monkey in taste, the vulture in smell, the spider in touch.’ (Trans, kindly made by Rev. E. R. Micklem, with great diffidence.)

^{page 45 note 3} Richard Fournival repeats this passage but says that the lynx is ‘uns petits vers (blans) ki voit parmi les parois’, Hippeau, Le Bestiaire d'amour, cap. 162, p. 190. The passage is correctly quoted by Konrad von Megenberg, Buck der Natur, ed. Pfeiffer, p. 118.

^{page 45 note 4} L. Charbonneau Lassay, Bestiaire du Christ.

^{page 46 note 1} A. F. Kendrick, La Dame à la Licorne, Congrès d'Histoire de l'Art, Paris, 1921; Actes du Congrès, vol. ii., 2, p. 663. The little animals scattered about among the flowers and grass and also in the background may be compared with the animals at the side of the Wheel at Longthorpe. It is possible that the squirrel and dogs placed outside the Wheel at Longthorpe are alternative symbols for the senses, i.e. the squirrel for taste, one kind of hound which hunts by sight and another by scent. On the tapestry a parrot being fed with fruit is taste, and monkey smelling a nower is smell. On the coverlet, taste is the monkey, hearing a boar, sight an eagle, and smell a dog.

^{page 46 note 2} Fabrizio Clerici, Allegorie dei Sensi di Jan Brueghel.

^{page 46 note 3} An elaborate wheel diagram of the seven petitions of the Lord's Prayer, the seven sacraments, the seven gifts of the Holy Spirit, seven ‘arma virtutum spiritualia’, seven works of mercy, seven cardinal virtues, seven deadly sins, and the seven gifts of the body and the soul, is found in both the psalter fragments, in MS. Arundel 83, fo. 3^v and fo. 129^v. Also ‘Rota altercacionis oppositorum’ (opposite qualities), fo. 4 and the Wheel of the Ten Ages of Man, fo. 126r (pl. xiii, b). Sometimes animals are combined with a wheel as in the satire of clerical vices in a German wood-cut. Schrieber 1959.

^{page 46 note 4} L. Dorez, La Canzone delle Virtù.

^{page 46 note 5} Nelson Francis, Book of Vices and Virtues, E.E.T.S., O.S. 1942, p. 153.

^{page 46 note 6} Saxl, F., ‘A Spiritual Encyclopaedia of the Later Middle Ages’ Journal of the Warburg and Courtauld Instiutes v, 1942. p. 82CrossRef Google Scholar.

^{page 46 note 7} Ibid., p. 99.

^{page 47 note 1} Ibid. p. 106. C. S. Lewis, Allegory of Love, p. 99, Pat. Lat. ccx.

^{page 47 note 2} Nelson Francis, op. cit. pp. 89–90.

^{page 47 note 3} e.g. In Li Livres du Trésor of Brunetto Latini, ‘L'Ame a maint office et por chascun office est apelee par tel nom comme a celui office convient…. En ce que ele juge droitment est apelée Raison, et en ce que ele sent est apelee sens et en ce que ele a sapience est apelée entendement’, Li Livres de Trésor. ed. Chabaille, 1863, pp. 21–23.

^{page 47 note 4} See especially Morality Play called Nature by Henry Medwell. Brandl, Quellen der weltlichen Dramas in England, v. 80.

^{page 47 note 5} Schlosser, J. Van, ‘Die Wandgemälde aus Schloss Lichtenberg in Tirol’, Deutscher Verein für Kunstwissenschaft, Jahresgaben 1916Google Scholar. The scene forms part of a double composition—in the other half is seen the ‘Frau Minne’ (Love) with her Court.

^{page 47 note 6} B.M. MS. Arundel 83, fo. 126. J. Winter Jones, Archaeologia vol. 35, p. 165.

^{page 47 note 7} See above p. 22.

^{page 48 note 1} Wright, Political Songs and Poems, vol. ii, especially the ‘Prophecies of John of Bridlington’, pp. 123 seq. Also ‘Prophecies of Joachim of Fiore’. There is also the purely decorative use of birds and animals which is so well exemplified in the Psalters ef the East Anglian School of the fourteenth century.

^{page 48 note 2} Below p. 54.

^{page 48 note 3} Above p. 22.

^{page 49 note 1} Large painting of the Hermits in the Theban Desert in the Campo Santo at Pisa, and hermits in the landscape background of the Trionfo della Morte, also in the Campo Santo; painting attributed to Lorenzetti in the Uffizi, Schubring, Cassoni, pl. vi, no. 38. Cassone belonging to Lord Crawford, Schubring, pl. vi, no. 36, 37.

^{page 49 note 2} An excellent representation of hermits making baskets is to be found in the painting of Augustinian hermits in the Church of S. Giovanni a Carbonari near Naples, by the Milanese artist Leonardo da Besozzo. Van Marle, Schools of Italian Painting, vii, 158.

^{page 49 note 3} Claude Champion, L'Art et les saints, p. 62.

^{page 49 note 4} A Picture Book Life of St. Anthony, ed. Rose Graham for the Roxburghe Club, 1937.

^{page 49 note 5} Ibid. fo. ix^v.

^{page 49 note 6} The costume is very similar to that of the old hermit who instructed St. Anthony in the window given to the cathedral of Chartres by the Guild of Fishmongers. Delaporte, Les Vitraux de Chartres, pl. xxix.

^{page 49 note 7} The similarity between the Longthorpe figure and the figures of St. Francis in the Lutterell Psalter, and also to that of the wall-painting in the church of Wiston, Suffolk, must not be overlooked. B.M. Add. MS. 42130. fo. 60b. E. W. Tristram, English Medieval Wall Painting, ii, pl. 190. St. Francis is actually addressing the birds, a young brother sits in front of him reading. See also E. W. Tristram, English Wall Painting, 14th Century, p. 108.

^{page 50 note 1} Victoria County History, ii, 457.

^{page 50 note 2} Fresco of the Marriage of St. Francis, Lower Church, Assisi. Trionfo della Morte. Campo Santo, Pisa (pl. xxv, b). Paintings in the Spanish Chapel Sta. Maria Novella, Florence.

^{page 50 note 3} Vasari, Lives of the Painters, Sculptors and Architects (Orcagna), trans. G. de Vere, 1912–14, i, 190.

^{page 50 note 4} Picture Book Life of St. Anthony, ed. Rose Graham, Roxburghe Club, 1937, fo. xxviii.

^{page 51 note 1} Nelson Francis, Book of Vices and Virtues, E.E.T.S., 1942, p. 89.

^{page 51 note 2} Idem, p. 74.

^{page 51 note 3} Ibid., p. 70.

^{page 51 note 4} Nelson Francis, Book of Vices and Virtues, pp. 69–70.

^{page 51 note 5} F. Saxl, ‘A Spiritual Encyclopaedia of the Later Middle Ages’, Journal of the Warburg and Courtauld Institutes, v. 96, pl. 22 c.

^{page 51 note 6} The fresco was originally attributed to Orcagna but the ascription to Traini is now usually accepted.

^{page 52 note 1} S. Morpurgo, Epigrafi in Rima del Camposanto di Pisa, Arte ii, 1899, pp. 51–87. Only six of the original inscriptions survive but an almost contemporary manuscript was discovered in which the whole series had been copied.

^{page 52 note 2} Morpurgo, op. cit.

^{page 52 note 3} Saxl ‘A Spiritual Encyclopaedia of the Later Middle Ages’, Journal of the Warburg and Courtauld Institutes, v, 83.

^{page 52 note 4} Saxl, op. cit., p. 110.

^{page 52 note 5} Ibid., p. 120.

^{page 52 note 6} Ibid., p. 101.

^{page 52 note 7} Ibid., p. 121.

^{page 52 note 8} Ibid., p. 115.

^{page 52 note 9} Ibid., p. 122.

^{page 52 note 10} Ibid., p. 122.

^{page 53 note 1} F. Saxl, op. cit., p. 84.

^{page 53 note 2} E. Saunders, English Illumination, pp. 103–4; Millar considered both psalters to be East Anglian, English Illuminated Manuscripts, ii, p. 4.

^{page 53 note 3} Lecture at the Courtauld Institute of Art, Nov. 13th, 1951.

^{page 53 note 4} Borenius and Tristram, English Mediaeval Wall Painting, p. 18.

^{page 53 note 5} Above, p. 41, pl. xiii a.

^{page 53 note 6} Above, p. 44, pl. xiii, b.

^{page 54 note 1} Burl. Mag., vii, no. 28, 1905.

^{page 54 note 2} ‘The Cycle of Images in the Palaces and Castles of Henry III’, Journal of the Warburg and Courtauld Institutes, vi, 1943, p. 40Google Scholar.

^{page 54 note 3} English Mediaeval Wall Painting, vols. i and ii.

^{page 54 note 4} Art in Medieval France.

^{page 54 note 5} Borenius, op. cit., p. 44.

^{page 54 note 6} Ibid., p. 44.

^{page 54 note 7} Ibid., p. 47.

^{page 54 note 8} Ibid., p. 46.

^{page 54 note 9} C. Wall, Mediaeval Wall Paintings, p. 96.

^{page 54 note 10} Borenius, op. cit., p. 46; but see Ross, D. J. A., ‘A Lost painting in Henry III's Palace at Westminster’, Journ. of the Warburg and Courtauld Institutes, xvi, 160Google Scholar.

^{page 54 note 11} Joan Evans, Art in Mediaeval France, p. 180.

^{page 54 note 12} Boreniues, op. cit., p. 49.

^{page 54 note 13} The Castle of Lochstadt. W. Douglas Simpson, Journal of Brit. Arch. Ass. 1934, p. 267, also found in Papal Palace at Avignon and in Sala de Ragione at Padua, and at Lichtenberg. The duke of Normandy had his library painted with hunting scenes copied from his books.

^{page 54 note 14} Joan Evans, op. cit., p. 181.

^{page 54 note 15} Painted for Charles V at L'Hôtel du Saint-Pol, Joan Evans, op. cit. 180.

^{page 54 note 16} Painted for Duke of Normandy at Val du Ruel, Evans, op. cit., 180.

^{page 54 note 17} Painted for Charles V at the Louvre, Joan Evans, op. cit., 180.

^{page 54 note 18} Borenius, op. cit., p. 45, painted at Clarendon.

^{page 55 note 1} For the countess of Artois at Hesdin. Joan Evans, op. cit., p. 181.

^{page 55 note 2} Borenius, op. cit., p. 44.

^{page 55 note 3} Schlosser, ‘Die Wandegemälde aus Schloss Lichtenberg in Tirol’, Deutscher Verein für Kuntsieissenschaft, Jahresgaben 1916, above p. 44.

^{page 55 note 4} Ibid.

^{page 55 note 5} Joan Evans, op. cit., p. 179.

^{page 55 note 6} The Dreme—quoted C. Wall, op. cit., p. 102.

^{page 55 note 7} Van Marle, Schools of Italian Painting, vii, 266. See also the paintings in the castle of Fenis. Ibid., p. 192 and in the Palazzo Trinci at Foligno. Ibid., p. 44.

^{page 55 note 8} Joan Evans, op. cit., p. 180.

^{page 55 note 9} B. Kurth, Jahrbuch des Kunst Institutes des K.K. Zentral-Kommission für Denkmal, v, 9, 1911.

^{page 55 note 10} Van Marie, op. cit., p. 46.

^{page 55 note 11} In subject-matter the Longthorpe paintings seem to have a distant kinship with some of the great cycles of Italian painting and sculpture although the scheme is not worked out logically or completely. These series are comprehensively discussed by J. von Schlosser, ‘Giusto's Fresken in Padua und die Vorläufer der Stanza della Signatura’, Kunsthistorische Sammlungen des Kaiserhauses, Jahrbuch xvii, 13, 1896.

^{page 55 note 12} Schlosser, op. cit., p. 51.

^{page 56 note 1} Schlosser, op. cit. p. 83.

^{page 56 note 2} Joan Evans, op. cit., p. 180.

^{page 56 note 3} Dodsworth and Dugdale, Monasticon, 1682, pp. 181–4.

^{page 56 note 4} Proceedings of the Cambridge Antiquarian Society, ix. 178.

^{page 56 note 5} Brussels, Bib. Roy. MS. 9961–2.

^{page 56 note 6} W. T. Mellows, ‘The Knights of the Peterborough Barony’, Annual Report of the Peterborough N.H.S., 1925.

^{page 56 note 7} Archaeologia, lxxxvii, 297.

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I.—The Wall-Paintings at Longthorpe Tower near Peterborough, Northants

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